movement research is one of the world's leading laboratories for the investigation of dance and movement-based forms. Valuing the individual artist and their creative process and vital role within society, Movement Research is dedicated to the creation and implementation of free and low-cost programs that nurture and instigate discourse and experimentation. Movement Research strives to reflect the cultural, political and economic diversity of its moving community, including artists and audiences alike.

Wildcat!, a civically-minded, collaborative performance organization, brings together a panel of performers, artists, and activists to discuss how equitable conflict manifests in contemporary performance practices. How might the role of conflict be reconsidered within collaborative work? What potential lies in negotiating equitable conflict as a means of devising performance? As a means of shifting from militaristic ideas of conflict toward cyclical acts of supportive response?

Nia Love re-configures and re-examines the meanings of ‘safe-space’, domesticity, and self care in an installment of her latest project, the Epic Memory Lab (EMLab). Taking the form of a potluck, Love will facilitate a candid dialogue about healing and aging that will be guided by the recipes, stories, and family heirlooms offered by attendees.

EMLab is informed by the structure of Kitchen Konversations, a series developed by Nia Love and Marjani Forté-Saunders.

This conversation will take a detailed look at the culture around child-rearing as a performer. How do structures and attitudes in the field invite and support or discourage and overlook the choice to be primarily a dancer, rather than a dance-maker? In a dance economy focused on finding support for choreographers, what are the concrete ways performers are finding to navigate parenting and dancing?

Citation and adaptation have been fertile and even groundbreaking creative processes. Cultural appropriations have also masked power dynamics and violent processes of dispossession. How are performance makers navigating citational and appropriative processes with intention and within a range of proximities and intimacies with their sources? How do these artistic practices contend with and complicate colonial and extractive procedures?

March 15, 2017

Movement Research's editors create a temporary "publication": a live site igniting conversation, debate and language around the current moment. Faced with extreme conservatism, how will New York City dance/performance people activate their power, access, resources and social missions? Questions will be posed and answered within a time limit. Categories include: culture in the current political climate; gossip; equity; formulating a new avant-garde in a socially responsible way. GAME SHOW!

Since the development of the Dancers Compact from 1996 to 2002, multiple efforts have been undertaken in the field to better understand, support, and advocate for the needs of dance artists, and for the importance of self-care. This is an essential and ongoing issue for each dance artist and for the field as a whole. What are the approaches and practices that makers and dancers are developing to better sustain themselves and their collaborators, and what resources are out there for dance artists in NYC? Hear from artists Aaron Mattocks, Katy Pyle, Juliana May, and Antonio Ramos, who are each actively pursuing different ways to address these questions – and add your own experiences, ideas, and practices to the mix.